The present book on Jaina Art and Aesthetics is the outcome of long study and research on Jaina
art in its totality. The book delves deep into the contributions and landmarks of Jaina art in its
multiplicity and in reference to its being the part of the whole of the gamut of Indian art and
culture. The rare feature of Jaina art is its consistency in sustaining the manifestation of
non-violence, renunciation, austerity and non acquisition all through from 3rd century BC down to
the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The
Jaina tradition and thereby the art did never compromise with the above basic tenets, the
embodiment of which are to be seen in the figures of the 24 Jinas and Bahubali.

The study also reveals that Jaina Art has never been monotonous. The texts speak of the
dhyana-murtis of Jinas being beautiful and in their prime youth (taruna, rupavan, manohara and
surupa). In sculptural and architectural context, as well as in forms of Jaina art. The intimate
relationship between man and nature is also distinct. The social and psychological reflections in
different forms of Jaina art have also been brought out lucidly. The book discusses all these
aspects for the first time and is a valuable contribution to Indian art in general and Jaina art
in particular.

Dr. Maruti Nandan Pd. Tiwari (b. 1949) M.A., Ph.D., is Professor in the Department of
History of Art, Banaras Hindu University and has headed the Department of three terms under the
rotation system. His publications deal extensively with different aspect of Indian art and
iconography. He has many books to his credit including: Jaina Pratimavijnan (Hindi), Elements of
Jaina Pratimavijnan (Hindi), Elements of Jaina Iconography, Ambika in Jaina Art and Literature,
Khajuraho Ka Jaina Puratattva (Hindi), Jaina Kala Tirtha: Deogarh (Hindi, joint), Madhya Kalina
Bharatiya Pratimalakshana (Hindi, joint). His academic puruits and publications have brought
several honours and awards to him. He was invited by the President of India to Rashtrapati Bhavan
twice. He was awarded Acharya Narendra Deva Puraskar by Hindi Samsthan (U.P.) and Indira Gandhi
National Raja Bhasha Award (Delhi). He has been invited for lectures, including Keynote Address at
SOAS (London) and at University of Cardiff, UK; Nehru Centre, London and Berlin University
(Germany).

Dr. Shanti Swaroop Sinha (b. 1967) M.A., Ph.D., is Asstt. Professor in the Department of
History of Visual Arts, Banaras Hindu University. He undertook Post-Doctoral Research of ICHR as
Research Fellow on Vaidik Puranic Deities in Jaina Tradition and Art and also worked as UGC
Research Associate for Major Research Project on Gommateshvara Literature, under Prof. M.N.P.
Tiwari. He has attended several seminars and presented papers, most of which are now published.
His publications include a book in Hindi on the Anugraha images of Shiva. His another book in
Hindi, Jaina Kala Tirtha: Deogarh is written in joint authorship with Prof. M.N.P. Tiwari.

Preface

History, Culture and Art are inseparable by identity of meaning and purpose because all these are
related to the study of mankind in terms of its material, spiritual and artistic expressions and
contributions and also its relation to the world of nature - flora and fauna. Because of the
visual language, Art has the capacity of direct and forceful transmission. It emanates and
develops as integrated and collective experience and wisdom of the society. Indian Art as a whole
has been the best example of inherent assimilation, mutuality and commonality of Indian culture
which is beyond the barriers of sect, religion and faith. But, somehow, Indian Art for last
several decades has been studied mostly in reference to the narrow divisions based on sect,
religion and faith.

The present work on Jaina Art and Aesthetics delves deep into the contributions and landmarks of
Jaina Art in its full multiplicity and in reference to its being the part of the whole of the
gamut of Indian Art and Culture. The rare feature of Jaina Art is its consistency in sustaining
the manifestation of non-violence, renunciation, austerity and non-acquisition all through from
3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or
Tirthankaras) and Bahubali. The Jaina tradition, and thereby the Art, did never compromise with
the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jainas and
Bahubali.

The study also reveals that Jaina Art has never been monotonous, as observed by many scholars. The
texts not only speak of the dhyana-murtis of Jainas being beautiful (Rupavan, Manohara and Surupa)
but in sculptural and architectural context, as well as in paintings, the aesthetic content and
appeal are expressed brilliantly. The intimate relationship between Man (including Jainas and
other divinities) and Nature is prominently emphasized in all forms of Jaina Art.

The Jainas developed close relationship with the divine world of Vaidik-Puranic tradition and, as
a consequence, unhesitatingly assimilated Balarama, Vasudeva-Krishna, Rama, Ganesha, Lakshmi,
Sarasvati, Navagrahas, Ashtadikpalas, and many more deities directly or indirectly into Jaina
pantheon. The visual examples available at different Jaina sites, namely-Mathura,
Kumbhariya, Delvada, Khajuraho, Khandagiri, Shravanbelgola distinctly reveal this assimilation
done with grace and dignity. On the basis of the injunction of Jaina text, Harivamsha Purana (AD
783), we have explained the occurrence of erotic figures, though meagre in number, on the Jaina
temples of both Svetarnbara and Digambara affiliations. Such actuality is suggestive of the broad
mindedness of Jaina Acharyas and artists who took holistic approach in perception and artistic
renderings.

We hope that the scholars, art lovers and students of Indian Art will alike find this book useful
and interesting.

The present book is the outcome of our long study and research on Jaina Art, based on the Jaina
antiquities both at different sites and in museums. Some new ideas and interpretations have been
proposed in the present book on the basis of the comparative and analytical study of the texts and
available art data. The authors are grateful to the University Grants Commission, New Delhi for
providing adequate funds and opportunity to facilitate our visit to important Jaina sites in
India. The Photo Archives of American Institute of Indian Studies, Gurgaon (earlier based at
Varanasi) was like an ocean, the churning of which has yielded vital information for which we are
indebted to the Institute. The scholarly advice and corrective comments of Padmabhushan Prof. M.A.
Dhaky of the American Institute of Indian Studies were always the guiding force for which we offer
obeisance to him. For constant inspirations and encouraging support, we offer our heartfelt
gratitude to Dr. N.P. Joshi, Late Shri Krishna Deva, Prof. Anand Krishna and Prof. Kamal Giri.

The blessings of Reverend Upadhyaya Shri Gyan Sagar ji Maharaj and Swasti Shri Bhattarak Charu
Kirti ji Maharaj (of Shravanbelgola) have always been strong force towards pursuance of research
on Jaina Art, for which we offer Pranam to these Shalakapurushas.

Thanks are due also to all our family members who have always been supportive even at the cost of
their inconvenience. The help and support of Dr. Durganandan Tiwari, Dr. Anand Srivastava, Dr.
Atma Prakash Singh, Shri Shravan Kumar Chakraverty, Dr. Satya Prakash Tiwari and Shri Ratna
Shankar Pandey have also facilitated the completion of this work and hence thanks and blessings to
all of them.

The final completion of any work is its publication for which Shri Vikas Arya of M/ s Aryan Books
International, New Delhi deserves our applause for accomplishing the work nicely and quickly.

The present book on Jaina Art and Aesthetics is the outcome of long study and research on Jaina
art in its totality. The book delves deep into the contributions and landmarks of Jaina art in its
multiplicity and in reference to its being the part of the whole of the gamut of Indian art and
culture. The rare feature of Jaina art is its consistency in sustaining the manifestation of
non-violence, renunciation, austerity and non acquisition all through from 3rd century BC down to
the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The
Jaina tradition and thereby the art did never compromise with the above basic tenets, the
embodiment of which are to be seen in the figures of the 24 Jinas and Bahubali.

The study also reveals that Jaina Art has never been monotonous. The texts speak of the
dhyana-murtis of Jinas being beautiful and in their prime youth (taruna, rupavan, manohara and
surupa). In sculptural and architectural context, as well as in forms of Jaina art. The intimate
relationship between man and nature is also distinct. The social and psychological reflections in
different forms of Jaina art have also been brought out lucidly. The book discusses all these
aspects for the first time and is a valuable contribution to Indian art in general and Jaina art
in particular.

Dr. Maruti Nandan Pd. Tiwari (b. 1949) M.A., Ph.D., is Professor in the Department of
History of Art, Banaras Hindu University and has headed the Department of three terms under the
rotation system. His publications deal extensively with different aspect of Indian art and
iconography. He has many books to his credit including: Jaina Pratimavijnan (Hindi), Elements of
Jaina Pratimavijnan (Hindi), Elements of Jaina Iconography, Ambika in Jaina Art and Literature,
Khajuraho Ka Jaina Puratattva (Hindi), Jaina Kala Tirtha: Deogarh (Hindi, joint), Madhya Kalina
Bharatiya Pratimalakshana (Hindi, joint). His academic puruits and publications have brought
several honours and awards to him. He was invited by the President of India to Rashtrapati Bhavan
twice. He was awarded Acharya Narendra Deva Puraskar by Hindi Samsthan (U.P.) and Indira Gandhi
National Raja Bhasha Award (Delhi). He has been invited for lectures, including Keynote Address at
SOAS (London) and at University of Cardiff, UK; Nehru Centre, London and Berlin University
(Germany).

Dr. Shanti Swaroop Sinha (b. 1967) M.A., Ph.D., is Asstt. Professor in the Department of
History of Visual Arts, Banaras Hindu University. He undertook Post-Doctoral Research of ICHR as
Research Fellow on Vaidik Puranic Deities in Jaina Tradition and Art and also worked as UGC
Research Associate for Major Research Project on Gommateshvara Literature, under Prof. M.N.P.
Tiwari. He has attended several seminars and presented papers, most of which are now published.
His publications include a book in Hindi on the Anugraha images of Shiva. His another book in
Hindi, Jaina Kala Tirtha: Deogarh is written in joint authorship with Prof. M.N.P. Tiwari.

Preface

History, Culture and Art are inseparable by identity of meaning and purpose because all these are
related to the study of mankind in terms of its material, spiritual and artistic expressions and
contributions and also its relation to the world of nature - flora and fauna. Because of the
visual language, Art has the capacity of direct and forceful transmission. It emanates and
develops as integrated and collective experience and wisdom of the society. Indian Art as a whole
has been the best example of inherent assimilation, mutuality and commonality of Indian culture
which is beyond the barriers of sect, religion and faith. But, somehow, Indian Art for last
several decades has been studied mostly in reference to the narrow divisions based on sect,
religion and faith.

The present work on Jaina Art and Aesthetics delves deep into the contributions and landmarks of
Jaina Art in its full multiplicity and in reference to its being the part of the whole of the
gamut of Indian Art and Culture. The rare feature of Jaina Art is its consistency in sustaining
the manifestation of non-violence, renunciation, austerity and non-acquisition all through from
3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or
Tirthankaras) and Bahubali. The Jaina tradition, and thereby the Art, did never compromise with
the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jainas and
Bahubali.

The study also reveals that Jaina Art has never been monotonous, as observed by many scholars. The
texts not only speak of the dhyana-murtis of Jainas being beautiful (Rupavan, Manohara and Surupa)
but in sculptural and architectural context, as well as in paintings, the aesthetic content and
appeal are expressed brilliantly. The intimate relationship between Man (including Jainas and
other divinities) and Nature is prominently emphasized in all forms of Jaina Art.

The Jainas developed close relationship with the divine world of Vaidik-Puranic tradition and, as
a consequence, unhesitatingly assimilated Balarama, Vasudeva-Krishna, Rama, Ganesha, Lakshmi,
Sarasvati, Navagrahas, Ashtadikpalas, and many more deities directly or indirectly into Jaina
pantheon. The visual examples available at different Jaina sites, namely-Mathura,
Kumbhariya, Delvada, Khajuraho, Khandagiri, Shravanbelgola distinctly reveal this assimilation
done with grace and dignity. On the basis of the injunction of Jaina text, Harivamsha Purana (AD
783), we have explained the occurrence of erotic figures, though meagre in number, on the Jaina
temples of both Svetarnbara and Digambara affiliations. Such actuality is suggestive of the broad
mindedness of Jaina Acharyas and artists who took holistic approach in perception and artistic
renderings.

We hope that the scholars, art lovers and students of Indian Art will alike find this book useful
and interesting.

The present book is the outcome of our long study and research on Jaina Art, based on the Jaina
antiquities both at different sites and in museums. Some new ideas and interpretations have been
proposed in the present book on the basis of the comparative and analytical study of the texts and
available art data. The authors are grateful to the University Grants Commission, New Delhi for
providing adequate funds and opportunity to facilitate our visit to important Jaina sites in
India. The Photo Archives of American Institute of Indian Studies, Gurgaon (earlier based at
Varanasi) was like an ocean, the churning of which has yielded vital information for which we are
indebted to the Institute. The scholarly advice and corrective comments of Padmabhushan Prof. M.A.
Dhaky of the American Institute of Indian Studies were always the guiding force for which we offer
obeisance to him. For constant inspirations and encouraging support, we offer our heartfelt
gratitude to Dr. N.P. Joshi, Late Shri Krishna Deva, Prof. Anand Krishna and Prof. Kamal Giri.

The blessings of Reverend Upadhyaya Shri Gyan Sagar ji Maharaj and Swasti Shri Bhattarak Charu
Kirti ji Maharaj (of Shravanbelgola) have always been strong force towards pursuance of research
on Jaina Art, for which we offer Pranam to these Shalakapurushas.

Thanks are due also to all our family members who have always been supportive even at the cost of
their inconvenience. The help and support of Dr. Durganandan Tiwari, Dr. Anand Srivastava, Dr.
Atma Prakash Singh, Shri Shravan Kumar Chakraverty, Dr. Satya Prakash Tiwari and Shri Ratna
Shankar Pandey have also facilitated the completion of this work and hence thanks and blessings to
all of them.

The final completion of any work is its publication for which Shri Vikas Arya of M/ s Aryan Books
International, New Delhi deserves our applause for accomplishing the work nicely and quickly.

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